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008			200901b ||||| |||| 00| 0 eng d
040			_cSPAB
100			_aBallard, Susan _929681
245			_aSpiral Jetty, geoaesthetics, and art: Writing the Anthropocene
260			_bSage _c2019.
300			_aVol 6, Issue 1-2, (142-161 p.)
520			_aDespite the call for artists and writers to respond to the global situation of the Anthropocene, the ‘people disciplines’ have been little published and heard in the major journals of global environmental change. This essay approaches the Anthropocene from a new perspective: that of art. We take as our case study the work of American land artist Robert Smithson who, as a writer and sculptor, declared himself a ‘geological agent’ in 1972. We suggest that Smithson’s land art sculpture Spiral Jetty could be the first marker of the Anthropocene in art, and that, in addition, his creative writing models narrative modes necessary for articulating human relationships with environmental transformation. Presented in the form of a braided essay that employs the critical devices of metaphor and geoaesthetics, we demonstrate how Spiral Jetty represents the Anthropocenic ‘golden spike’ for art history, and also explore the role of first-person narrative in writing about art. We suggest that art and its accompanying creative modes of writing should be taken seriously as major commentators, indicators, and active participants in the crafting of future understandings of the Anthropocene.
650			_aAnthropocene, _929450
650			_aart history, _929682
650			_acreative nonfiction, _929683
650			_a environmental humanities, _929684
650			_ageoaesthetics, _929685
650			_a land art, _929686
650			_a postmodernism, _929687
650			_a Robert Smithson, _929688
650			_a Spiral Jetty _929689
773	0		_010524 _915375 _dSage Pub. 2019 - _tThe anthropocene review. _x2053-020X
856			_uhttps://doi.org/10.1177/2053019619839443
942			_2ddc _cART